By Fiona Macintosh, Visit Amazon's Pantelis Michelakis Page, search results, Learn about Author Central, Pantelis Michelakis, , Edith Hall, Oliver Taplin
Aeschylus' Agamemnon, the 1st play within the Oresteia trilogy, is among the so much influential theatrical texts within the worldwide canon. In functionality, translation, model, besides sung and danced interpretations, it's been time-honored within the Greek global and the Roman empire, and from the Renaissance to the modern degree. it's been valuable to the cultured and highbrow avant-garde in addition to to radical politics of all complexions and to feminist considering. individuals to this interdisciplinary selection of eighteen essays on its functionality heritage comprise classical students, theatre historians, and specialists in English and comparative literature. All Greek and Latin has been translated; the e-book is generously illustrated, and supplemented with the valuable learn reduction of a chronological appendix of performances.
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Extra resources for Agamemnon in performance 458 BC to AD 2004
16 below. Agamemnon for the Ancients 27 At 815, the beginning of Ajax’s suicide speech, which culminates in his falling on his sword on stage, the scholion raises the question of the unusualness of this device. Such things are rare among the ancients. For their normal practice is to report events through messengers. What then is the reason? Aeschylus in Thracian Women has used a messenger to report the death of Ajax, and perhaps therefore he
Also Clouds 1366–7. ; ZªŒïò, the ‘volume’, ‘dignity’ conveyed by such devices; âÜæïò, ‘weight’, given to his characters by their heroic grandeur. 21 There may be another example of this changing evaluation in §7 of the Life: ‘For this reason one could Wnd many outstanding illustrations of his striking dramatic contrivances but few aphorisms or pathetic scenes or other eVects calculated to produce tears’ (trans. Lefkowitz, 1981). These ‘aphorisms’ (gno¯mai) and ‘pathetic scenes’ (if that is the right translation of sumpatheiai) were of course something greatly admired in later tragedy, particularly the aphorisms that make Euripides by far the most often quoted tragedian in later antiquity (as in Clement of Alexandria, the Menandrian monostichs, and most of all Stobaeus).
But echoes like these may be fairly free-Xoating; it is more interesting to see how in the linguistic texture of Euripidean ‘remakes’ of Aeschylus, IA for example, reformulations of famous phrases will point up crucially ironic diVerence—as when Agamemnon’s ‘yoke-strap (ºÝðÆäíïí) of necessity’ (218) becomes the more prosaic ‘bonds of necessity’ (IíÆªŒBò æåýªìÆôÆ, IA 443), and the more ‘modern’ phrasing underlines the diVerently problematic nature of necessity for these people in this play. 24 I have already mentioned quotations of Agamemnon’s death-cries, clinching the echo of the paradigmatic murder scene.